Many fairy tales that appear at the end of the seventeenth century are modelled by a pervasive hyperbolic system. From the most micro-structural level to poetic macrostructures, hyperbole defines, justifies and confirms the wonderful genre. Wealth, abundance, repetitions, derivations or unbridled creations are so prolific versions of hyperbole. Saturating stories by recurring processes, the lexical distribution goes beyond the bounds regarded as inadequate to expose the original and fanciful inventions, and builds up to overwhelm tales with neologisms, lists or phrases stuck in a logorrheic expansion. At a higher level, the discourse of the narrator, and of the characters, reads and is ostensibly displayed in a generic exponential scene playing multiple forms to entertain and grow. Between frequent authorial interference and demonstrative discrepancies, the tale reveals a complex and unique scalar enunciation as if inherited from a univocal oral tradition. Repeating a composite, entangled elocutio the proxy from the stories dispositio adds, inserts and attaches the diegetic events in an overloaded narrative that extends the limits of a short paradoxically short genre. The numerous characters who dub the hero and increase his charisma are involved in the implementation of plural intrigues which find some coherence in the hero. Marked by a systematic focus that spreads around him, the hero collects and directs all diegetic motives. Enrolled in a tailor-made environment for him, distinguished by outrageous attributes, surrounded by enthusiastic spectators, the hero dominates the story by dramatizing his unusual status. As a hybrid genre, a kaleidoscopic and protean, the tale offers a paradoxical policy of continuing escalation of redundancy, over-qualification, magnification, saturating the text, and especially since it is short, in a joyful process. By focusing in a confined space the multiple elements of the tale, the aesthetics of the hyperbole, if it does exist in other corpus and other variations, specifically allows access to the truth of the genre, such as is practiced in the worldly writing years of 1690-1710.
